Here at the
Riddled Institute of Empirical Aesthetics and High-Gravity Poultry-Keeping, we keep track of well-intended acts of vandalism wrought by plonkers and loombuckets with delusions of artistic competence, so
you don't have to. So it was gratifying to see '
The Favourites of the Emperor Honorius' included in the Waterhouse retrospective at the Royal Academy, back in 2009. Nice catalogue, BTW.
After the over-enthusiastic cleansing at the hands of a misguided amateur in 1973, its restoration had been masterful though lengthy, and one would scarcely notice the damage. I admit to some surprise that the South Australians were willing to forget the 1973 episode and lend the painting again (I don't remember it as part of the 'Love & Death' touring exhibition of Victorian art in 2001/2002).
There is some speculation that the Waterhouse episode was model for the restoration of Whistler's "
Arrangement in Grey and Black No. 1" by
Brooke-Taylor, Garden & Oddie (1975) ... or was modelled after it (for the workings of the morphogenic field are not constrained by conventional temporal causation).
The Spanish have a long tradition of aesthetic destruction going back to the Vandal occupation from 409 to 429, and currently they are leading the World League table. Inspired by the '
Ecco Mono' Redeemer-of-the-Apes fresco restoration and the ensuing
tourism boom, other Spanish restoration enthusiasts gave us the
Playmobil Holy Family, the
Tintin St. George,
the Potato-Head of Palencia and the
Murillo Monster. But the Australians are catching up!
Now the
Sydney rock-carvings were not in the same league as a copy of a Murillo mantlepiece. They were outsider-art images in a style reminiscent of
Penck, incised into slabs of sandstone in
Callan Park, part of the grounds of the old Rozelle Asylum. The person most interested in them was
John Clegg, archeologist and petroglyph expert.* The detailed observations of ship rigging and steam-boat design in the carvings
convinced Clegg that the artist had some nautical experience, though not so much literacy - explaining his choice of this pictorial format to record his autobiography, whereby dates in the inscriptions (ranging from 1855 to 1922) relate to years he thought were significant. This fits local traditions about the artist.
Clegg suggested that the frequently-appearing "compass-rose-inna-banana" motif was a graphical / narrative depiction of how to take bearings with a gimballed ship's compass. Got all that? Don't worry, it will not be in the exam.
Further research: No longer an option
This explanation was rejected in 2014 by
Lady Crown (a.k.a. Jennifer Holt, a.k.a. Mauri Queen Turikatuku III) on account of being boring and plausible and insufficiently about
her. In fact the 8-pointed compass roses turn out to be the
five-pointed stars of
Ratana Church iconography, for in the Intuitive History that concerns us now, the images and enigmatic texts were
really engraved in the stones by
a pair of New Zealand exiles, twin prophets of the Ratana Church, as a record of their ecstatic revelations. Oppressive carcerial authorities treated their visions as delusions (as they always do), accounting for the presence of the twins in the nearby asylum.
Also foretold: the adoption of a Rising-Sun flag by the Japanese Navy
All this occurred
before the foundation of the Ratana Church, but it is unclear whether the
twins merely foretold that development, or went on to be involved somehow in that curious syncretic religion as pioneers in its tradition of prophecy... perhaps they were even its
true founders and T. W. Ratana was a usurper.
This must remain in obscurity, and there is nothing to attest to the twins as existing outside of Ms Holt's Dioscuri-themed fantasy, as she explains that concerns for their privacy prevent her from providing names or other identifying details. It is enough to know that she numbers them among her pullulating horde of ancestors.
PRIVACY DISCLAIMER
Due to the nature of their incarceration, for reasons of privacy at the request of the families,
their purported illnesses, names and their tribal affiliations will not be released to the general public.
For Ms Holt, 2014 was a hiatus between
her 2012 and 2019 attempts to convince the Council and court system of Parramatta that various plots of riverside park-land were Sacred Land on account of undiscovered gravesites (and should come under the guardianship of herself and family and friends). She was midway through the process of anamnesis as she recalled her true heritage and true destiny, adopting various titles to reflect her highborn family tree (which includes every paramount chief of New Zealand oral and early-written history), and her claim to the Mauri Crown. Enlightened as to the true origins of the Sydney carvings, she realised that her self-assigned role of
Guardian of Sacred Sites, and the career of her artistically-inclined husband, would be best-served
if they revived Tribal Carving Traditions and
re-chiselled all the grooves of those carvings, rendering them in more of a bas-relief style, along with such improvements as seemed desirable. Much as one might recarve the groove in a vinyl LP to restore its audio quality. Top that, Spanish restorers!
Surrounding Lady Crown is a sprawling archipelago of vauntingly deranged, mutually affirming blogs and websites, in which her unique worldview is explored in more elaborate rococo detail than you could ask for. Within it, all this Visionary Archeology and destructively creative reclamation of history is merely a secondary epicyclic fantasy. Heaven knows what other bobbins is in there. Meanwhile, as noted
in a previous post, Lady Crown has outgrown the narrow confines of Australia and looks to bring her Sovereign-Citizen word-salad cuisine to the Aotearoan side of the Tasman. Crivens! And crivens again!
Her claim to hereditary leadership of the Maori-sovereignty movement has encountered
some push-back from
longer-established grifters who had
already battened onto that movement and its collective response to colonialism. I expect to hear a rising crescendo of 5G! and 1080! and Microchipped vaccines! and all the other Worship Words of conspiracism, as they compete for legitimacy. If she is eventually ousted, she still has the fallback option of re-re-inventing hereself and asserting a claim to be Hereditary Leader of the Ratana movement.
*
Clegg's obituary notes that Sir Terry Pratchett sought his advice for "The Last Continent".
Lady Crown is in fact an heir and successor to King Hongi Hika and Queen Turikatuku II,
and Te Tiriti o Waitangi 1840 [Treaty] which was initiated by her ancestor King Hongi Hika in 1820 England via
He Whakaputanga 1835 (Declaration of Independence) Aotearoa.
Therefore the mantle was passed to her from IO Matua to honour the Te Tiriti that had been dishonoured by the settlers in Aotearoa.
Given the blessing, Our Lady honoured the Te Tiriti on 1st August 2018, where the seas meet at Rangihou and Rangihoua.
Through her baptism and the hand of IO Matua, she was released from all man made schemes, authorities, free from false beliefs, ideologies and sins. Released from the System in Perpetuity.
Our Lady was given right of passage to carry the ‘Kai whatu’ through [seed of the stone, bearers of sacred knowledge from the realms of the spiritual dimensions], brought forward in this time, the Seal of Covenant from ‘IO Matua’ anointed and validated.
What she shares, is direct from IO Matua ‘God’ Almighty.
Our Lady was reborn and anointed an Ambassador of the Lord.
Our Lady returned to her first name given at her first breath of birth 'Crown'.
She now stands as 'Our Lady Crown', a child of God, child of Mother Earth, reborn on Mount Taratara, An Ambassador of the Lord Jesus Christ with Divine Right and Authority.
Her divine right & authority is granted through the Power of IO Matua, the Holy Spirit, walking with God's Laws.
Lady Crown is our Holy Spirit and Protector in the physical realms holding both covenants in both of her hands,
protecting all that are in her care and residing in the Kingdom of God
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